NOYES FLUDDE | SET DESIGN

I really wanted to focus my set design on the development of the new world, the old world and the transitional period between these worlds as the main elements of the set. I focused on bright colours and sharp triangles for the old world; my intention was to create a sick, twisted and corrupted space. I wanted to do this through a more unconventional set, by making the design more like an art installation. Inspiration for this came from looking at the artists; Phyllida Barlow and Michael Beutler. I really liked looking at the ways in which these artists incorporated their structures with the architecture of the environments they were placed in. I also was particularly taken by an installation by Michael that involved the construction of a flimsy florescent yellow structure that was placed into a stark concrete space. This instantly made me think of the world that I was aspiring toward for my new world.

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(source: pinterest. Image by Micheal Beutler)

One of the things I found really difficult about this project was the fact that the timings for the set movements are dictated by the Falsetto, and cannot be changed. One of the main mistakes that I made was to create such a large scale set for the new world, looking back at the Falsetto now I have realized that there is not a lot of time to get this up, and that not a lot of action happens at this position. I do, however, stick to the fact that I think this is a very important area in the story to create. I think this is why I decided to create the world large scale anyway; To show that it is just as important, if not more important than the old world. After all God is wanting to create a better world for Noye and his family, so surely it needs to be impressive.

I spent a while writing out where I’d want all of my scene changes to occur, and I came to the conclusion that having the scene changes as part of the action of the opera could be really interesting. An example of this would be the moment when the material boat engulfs the audience; my idea of this is to get all of the animals to maneuver the fabric as a sort of dance/ physical theatre piece. The inspiration for this aspect of my design came from watching the recent production of Pinocchio at the Nottingham Playhouse that I went to see. In this production all of the set pieces were hung from the rigging, every time a piece was needed the cast members slowly lowered them from the air and moved them into place to create different spaces. I thought that this worked really well and that it was a really interesting piece of theatre to watch.

STORYBOARD:

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NOYES FLUDDE | COSTUME DESIGN

My costume designs also stemmed from looking at Futurism. The main inspiration for the designs came from the Italian futurism film; Thaïs. This film is a black and white film, and although this is not a design decision, I loved the colorless shapes. The designs were based on creating optical illusions in the set. The artist Enrico Prampolini, who also inspired a lot of my set design developments, designed the set of Thaïs. I wanted the costumes to provide ease of movement for the cast, especially for the animals who I intend to be not just singing but doing physical theatre and dance as well.

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(Source: Wikipedia. Image by Enrico Prampolini : Thaïs)

I have the intention of having a mixture of adults and children making up the groups of animals. The reason behind this is because I have the vision of the animals creating levels to aid the audience to see the action when the entire cast and congregation are within the material Ark. Thaïs was not the only aesthetic inspiration behind the costume designs for the Animals, I also thought back to the anatomical horse that we created as part of the Woyzeck project. I loved the way that worked and how you could see the person behind the mask. I thought that this would create a really interesting element of the opera.

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NOYES FLUDDE

Noyes Fludde is a production based on the biblical tale of Noah’s Ark. The main themes that I picked up on through reading the text and listening to the falsetto of the opera was this theme of creating a new world, and starting fresh. This led me to think about the art movement of Futurism as they share similar ideals. When beginning my research into Futurism I came across an article on the Guggenheim’s website, where I found the quote; ‘They sought to revitalize what they determined to be a static, decaying culture and an impotent nation that looked to the past for its identity.’ I think that this quote links so well to the thoughts of God when he decides he wants to create a new uncorrupted world.

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(Source: Guggenheim. Image by Fortunato Depero)

One of the most interesting aspects of this project for me was the fact that we were designing for the Arkwright Courtyard. This really inspired me because I love the idea of designing for spaces other than traditional theatre spaces. The monochrome nature of the gothic architecture of the courtyard is another reason why I thought that Futurism as a concept would work really well. I think that the bright colours and sharp shapes of the movement would contrast really well with the traditional nature of the architecture.

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(Newton/ Arkwright Courtyard, NTU, original photo)

THE BEGGARS OPERA

The Beggars Opera is one of the last examples of the once thriving genre of satirical ballad opera. It is a tale that focuses on the life of the poor. The opera is set in the underworld of London, It specifically focuses on a gang of highwaymen and a gang of Prostitutes who all work for the same man, Peachum.

Peachum is the wealthiest character in the opera. He controls the lives of the poor, when they are making him money they survive, as soon as they become useless he turns them into the law. Each way he makes money.

Previous to the opera’s beginning, Peachum’s daughter Polly has married one of the highwaymen; Macheath. This causes arguments within the family, which leads to Mr and Mrs Peachum plotting to turn in Macheath. This moment is what prompts the rest of the opera. We see Macheath behind bars, where the sailors daughter; Lucy, interacts with him.  We discover they were ex- lovers which then creates tension between Polly and Lucy. Lucy has access to the keys to Macheath’s cell, and although she hates him for ruining her and not marrying her, she lets him go. He is caught again and thrown back into jail.

What Is also interesting about this play is that it is introduced by 2 characters; The beggar and The Player. These characters are only seen in the first and penultimate scene. The last time they are seen is after the play has finished, which sees Macheath go to the gallows. They discuss this scene and then revise it to a happier ending. I think that these two characters make the play more interesting, but also easier to watch.

 

18th CENTURY THEATRE

This term our focus is 18th Century theatre. We have been given the choice between two plays from the era to design for. The designs will be for the RSC’s Swan Theatre in Stratford-Upon-Avon.

The two plays we have been given are ‘The Recruiting Officer’ by George Farquhar (1706) and ‘The Beggars Opera’ By John Gay (1728). Both the plays explore ideas of class however both are very different.

The play I have decided to focus on is ‘The Beggars Opera’, this is because I think the play is the more interesting of the two and so has more to play with. In reading the play a key theme of rebellion stands out to me, and so has led me to consider trying to incorporate the 1970s subculture of the Punk movement into my design scheme. I think that this could give the show an edge and also make it more relatable to modern culture.

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Hogarth’s Beggars Opera etching

RED RED SHOES | FINAL STORYBOARD

OPENING REVEAL:

For when the audience walk into the space, I want the set to be contained within the screens. That way the show is not given away straight away.

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FRANVERA’S ROOM:

The screens will open out to reveal Franvera in her normal messy room. A hint of medical still remains due to the screens and the bed. All of her belongings, that will soon become the characters costumes, are strewn on the floor alongside her drawings.

franveras-room

PARTY:

For the party scene, the cast will come on and put up the bunting. The table will be wheeled into the space with glasses on it. This is the moment the red shoes are handed to Franvera for the first time. The bunting could also be used as a dancing ribbon.

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SCENE 8:

The bed will be moved into the centre of the space. This is the scene where the soldier arrives in Franvera’s house and is attempting to force her out from under the bed.

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FOREST:

To create the forest in a more lateral way I want the bunting to be pulled around into shapes that the actors can crawl and step through. I want them to almost become branches. I also like the idea that the screens could be wheeled around the space to form pathways.

forest

DOCTORS OFFICE:

The doctor is the only character that is not a part of Franvera’s imagination. She is the only real person in the play other than Franvera herself. For this reason I wanted to make her really different, this is why I chose to not physically include her. I want the doctor to be created through shadow puppetry and sound.

doctors-room

EDGELESS ROOM:

A key image in this play is that of the edgeless room. To create this image I want to utilise the screens. Use them as boundaries that keep getting broken. I like the idea of the boots pushing through a lycra type material. Also I want people to be climbing through.

edgeless-room

SCENE 13:

This scene also takes part in the edgeless room. Franvera is drawing her little pictures, and they come to life, they become massive to almost form a wall. I thought this was another good opportunity to play with shadow puppetry again.

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REFUGEE CAMP:

Within the play Franvera draws the refugee camp with ‘the lines of washing blowing in the air’ this led me to consider having the cast hang out some washing on the bunting lines for this scene.

refugee-camp

END:

The last scene sees Franvera shot by Red Beard. She leaves the stage by walking into a beam of light, heaven. For this project there is no way to get LX, so I thought I could attempt to create this with the screens and some back lighting.

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RED RED SHOES | MODEL

To create my model for this projects set design, I was able to try a lot of new techniques. I tried soldering, laser cutting, using the spray booth etc. I really enjoyed attempting these precesses, despite the stress involved when things went wrong.

To create the miniature hospital bed I bent copper wire into the correct shapes and soldered all the parts together. This was such a delicate process, and a time consuming one. However difficult I found this technique, I managed to create a bed that was true to real life.

To create the hospital privacy screens I attempted many different processes. These were the most difficult aspect to build. I tried soldering, using electrical wires, filing foam board, cutting card to no avail. In the end I decided to try laser cutting to create the shapes, and then join them together using wire.

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